Earlier this week, Rolling Stone dropped its “The 250 Greatest Songs of the 21st Century So Far” list. According to the outlet, Missy Elliott’s iconic track, “Get Your Freak On,” is the No.1 song of the 21st century. “…It was a challenge, a dare, the sound of Miss E and Timbaland defying everyone else to keep up with the future or get left behind,” the outlet wrote. The outlet continued: “And after more than two decades, ‘Get Ur Freak On’ still sounds like the future — everything vibrant and inventive and cool about 21st-century pop is in here somewhere.” The track, which dropped in 2001 and featured on the rapper’s third studio album Miss E… So Addictive. Upon its release, the track landed at number seven on the US Billboard Hot 100 chart. That said, Miss E… So Addictive debuted at No.2 on the US Billboard 200 chart, selling 250,000 copies in its first week. It’s also been certified platinum by the Recording Industry Association of America (RIAA). In 2002, at the 44th Grammy Awards, Missy Elliott walked away with a Grammy Award for Best Rap Solo Performance for “Get Ur Freak On.” Missy Elliott Reaches Settlement In Long-Running Lawsuit In other news, back in August, Missy Elliott finally put an end to a lawsuit that followed her for years. On August 22nd, just as jury selection was about to begin in a Philadelphia courtroom, she and producer Terry Williams agreed to settle their dispute, closing a chapter that had been active for seven years. The conflict stemmed from Williams’ claims that he helped write several songs during Elliott’s early career. He pointed to four tracks from her group Sista’s 1994 project 4 All the Sistas Around Da World and argued that Elliott went on to publish the material without giving him the credit or payment he believed he deserved. He later tried to connect his argument to Aaliyah’s 1996 single “Heartbroken,” but in August 2024, U.S. District Judge Nitza Quiñones Alejandro ruled that the attempt came too late after more than two decades had already passed.

BIA is firing back at Megan Thee Stallion after a video of her laughing at Cardi B’s “Petty & Petty” track circulated online. The track, which is featured on Cardi’s Am I The Drama, takes direct aim at the “WHOLE LOTTA MONEY” rapper. In the opening line of the track, Cardi raps, “Name five BIA songs, gun pointin’ to your head/Baow, I’m dead.” While it appears Megan found this part of the song quite amusing, BIA didn’t see it that way. Recently, BIA hopped on her Instagram Story and shared a screenshot of the Houston rapper’s controversial interview with Gayle King. In her documentary Megan Thee Stallion: In Her Own Words, the rapper admitted that she did, in fact, lie about sleeping with Tory Lanez. In another IG Story post, BIA shared a selfie that featured audio from Nicki Minaj’s “Big Foot.” She focused on the lyrics where Minaj rapped, “you lied on your dead mama,” subtly implying that Megan lied about being shot by Tory back in 2020. View this post on Instagram BIA Reignites Beef With Cardi B, Trolls Stefon Diggs Not long ago, BIA reignited her beef with Cardi B. Last month, BIA hopped into the comment section of a Cardi B fan page who posted a clip of her performing “Pretty & Petty,” where she took shots at Cardi’s ex-boyfriend, New England Patriots wide receiver Stefon Diggs. “Can u name someone with more bms than receiving yards? I can! and I know that… ykwnvm ,” she wrote under the post. Diggs has faced several paternity lawsuits in the past and recently took a major loss at Super Bowl LIX. It didn’t take long for Cardi to catch wind of BIA’s comments. During her tour stop at the Kia Forum in Inglewood, CA, right before Cardi was set to perform, “Pretty & Petty,” she decided to clap back at BIA for shading Diggs. While Cardi admitted that she and Diggs weren’t on the best of terms, she made it clear that she won’t stand for others talking down on her former partner. “Let me tell you sumthin’, just cause I ain’t f*cking with my baby daddy, doesn’t mean you get to talk about my baby daddy b*tch.”

Ari Lennox is revisiting the period surrounding her departure from Dreamville with a clearer sense of perspective. In a recent interview, the singer spoke candidly about the frustration she felt at the time and the way it spilled into public view. Looking back, she said the tension was less about personal conflict and more about miscommunication during the rollout of her single “Smoke.” With distance from the moment, Lennox now says she regrets how she expressed those concerns. She was especially careful to separate the situation from her relationship with J. Cole, the label’s founder. Lennox described his early support as a turning point in her career, one that introduced her to audiences she might not have reached otherwise. In her view, that endorsement remains one of the most meaningful boosts she has received as an artist. “It was just a really emotional time for me. I regret it. Honestly,” Lennox said, reflecting on the public criticism she shared at the time. “I feel like I should’ve never taken it to the Internet. I do want to apologize to J. Cole, I sent him a message on Instagram [and] a voice note. I’m a little afraid to give him a call, but I do apologize… But it was never Cole. Cole was never the issue. I think it just was literally a marketing thing, but it is what it is.” Ari Lennox Reflects on J. Cole and a Hard Lesson Learned She also recalled a moment that underscored the personal respect she continues to hold for him. During a performance overseas, Cole unexpectedly appeared while she was on stage performing one of their best-known songs. “This man flew all the way to London for me,” she said. “This man surprised me as I’m performing ‘Shea Butter Baby.’ And I cried like a baby, I sounded like a walrus. I could not get the words out ’cause I was so shocked. That’s how loving and selfless he is. So Cole himself, I will always care and respect him.” Lennox previously criticized the promotion surrounding “Smoke,” comments that circulated widely online at the time. Cole did not publicly respond, and reports surrounding her eventual exit suggested there was no lasting hostility between them. In hindsight, Lennox said she wishes she had approached the situation differently. A private conversation, she believes now, would have been more productive than airing her frustration online. The experience, she added, offered a difficult but valuable lesson about communication and timing within the music industry.

The complicated relationship between Drake and Rick Ross resurfaced again this week, this time through a concert clip that circulated widely online. The two rappers once built a long list of collaborations together, but their dynamic changed during the wave of rap feuds that dominated much of 2024. Even so, their shared catalog continues to appear in public moments, sometimes drawing attention back to the unresolved tension between them. In the video, Ross pauses during a live performance to address the audience before letting one of their best-known records take over the room. “We gon’ let the n*a Drake sing a little,” he says, stepping aside as the chorus of “Aston Martin Music” begins to play. The moment, lighthearted on its surface, quickly found its way onto social media. When the clip was reposted online with the caption “Rick Ross’ biggest song has his enemy on it,” Drake appeared to respond with a series of crying-laughing emojis in the comments. The brief reaction did little to clarify where the two artists stand, but it served as another reminder that their history is difficult to separate from their present rivalry. Drake reacts to Rick Ross playing his part on “Aston Martin Music” after telling the crowd, “We gonna let Drake sing a little” “” pic.twitter.com/PsxBE93599 — Kurrco (@Kurrco) March 6, 2026 From Collaborators to Critics That history is extensive. Ross and Drake collaborated on several high-profile songs throughout the 2010s, making their partnership one of the more recognizable pairings in mainstream hip-hop during that period. Because those records remain popular, moments like this one continue to blur the line between past collaboration and current friction. The tension between the two artists became public during the larger chain of rap disputes that unfolded in 2024. Around that time, Kendrick Lamar’s verse on Future and Metro Boomin’s “Like That” set off a series of responses across the genre. Ross later joined the criticism of Drake, raising accusations about industry conflicts and personal matters. Drake responded with his own lyrics directed at multiple rivals, including Ross, weaving those remarks into a broader set of diss records. The exchange became part of a larger narrative that drew in several prominent figures in rap. Still, Ross has suggested that the disagreement may not be as severe as it appears from the outside. Speaking last year with Bootleg Kev, he downplayed the depth of the conflict. “Real n*as stay real,” he said. “Was it something really deep? Nah.” He also hinted that reconciliation might not be impossible. “You never know,” Ross added with a laugh. “Send me a white Belaire and I’ll take a picture with you.”

North West, the eldest daughter of Kanye West, has begun sharing more glimpses of her own musical experiments. During a recent livestream from a recording studio, she played an unreleased track that immediately caught the attention of fans online. The beat drew from a recognizable source: a sample of Kanye West’s song “Coldest Winter.” The original track appeared on 808s & Heartbreak, West’s 2008 album known for its stark emotional tone and minimalist production. Written in the wake of his mother Donda’s death, “Coldest Winter” remains one of the project’s most reflective moments. In North’s preview, fragments of that soundscape — including vocals and synthesizer textures — were woven into a heavier, more contemporary beat. The reinterpretation reshapes the song’s atmosphere. The preview suggests deeper bass and sharper percussion, including hardstyle-influenced drum patterns that give the track a darker edge. While the structure echoes West’s original composition, the overall tone feels distinctly modern, suggesting a young artist experimenting with familiar material in her own way. North West previews a beat that samples her father’s song “Coldest Winter” pic.twitter.com/NIL0SNb3Q5 — Kurrco (@Kurrco) March 6, 2026 North West Continues Her Creative Run with Kanye North’s appearance in the studio continues a pattern of occasional collaborations with her father. She previously appeared on songs connected to West’s VULTURES project with Ty Dolla $ign, including the track “TALKING.” She also contributed to “BOMB,” which featured her younger sister Chicago. Another collaboration followed with “LONELY ROADS,” a track that included King Combs and JAAS. Beyond those appearances, North has occasionally shared snippets of music online, including a version of her song “PIERCING ON MY HAND” that West later reworked. The exchanges suggest an informal creative dialogue between them rather than a traditional mentor-student relationship. The new preview surfaced as attention builds around West’s forthcoming album, BULLY. Rumors about the project’s timeline have circulated for months, though no confirmed release date has been announced. Whether North’s sample-driven track appears on a future release — her own or her father’s — remains unclear. For now, the moment offered a small glimpse into how musical influence travels within the West family. North appears to be experimenting with the sounds she grew up hearing, testing how they might evolve in a new generation.

Nearly fifteen years after stepping away from Atlantic Records, T.I. says the decision still lingers in his mind as one of the most complicated choices of his career. During a recent interview, the Atlanta artist described the move not as rebellion but as a question he felt compelled to answer. At the height of his success, he said, he wanted to understand whether the momentum surrounding his music belonged primarily to him or to the powerful system supporting it. “One of the reasons why I made one of the toughest decisions, arguably one of the worst decisions, in my career — I made the decision to leave Atlantic, quite honestly, because I just got tired of wondering, ‘Was my success predicted on me or them?’” he said during the interview. “I had to know.” The split came in 2013, soon after the release of Trouble Man: Heavy Is the Head, his eighth studio album. T.I. briefly joined Columbia Records before ultimately moving toward a fully independent approach in 2015. In hindsight, he said leaving Atlantic forced him to see the invisible mechanics of a major label in a new light. “I stepped away, and I almost immediately could see and tell there were a lot of things being done, you know, on my behalf, for my benefit, that I was probably oblivious to,” he said. The realization, he added, sparked a different kind of curiosity. “At that moment, once I found that out, I was eager to learn what those things were and how to identify and execute those things on my own behalf.” From Major-Label Muscle to Boutique Hustle The experience reshaped how he thinks about the relationship between artists and labels. T.I. described the label’s role as something akin to invisible engineering behind a finished product. “I recorded the music,” he said, explaining that once the songs left his hands, the label’s infrastructure took over. “But when I handed it off to them… [they] turned into the success that we all knew. I enjoyed the success and appreciated it… I just wanted to see what it took for me to do it myself.” Today, that experiment continues through his own company, Grand Hustle Records. The operation is smaller and more contained than the corporate system he once relied on, though the ambition remains similar. “I mean, you know, it’s still a machine, but the machine is boutique,” he said of the label’s structure. “It’s very insulated and it’s more focused. It isn’t as broad… It’s taken a minute. I think we’ve identified it, and now we’re working on the execution.” For T.I., independence has brought both satisfaction and perspective. The machinery that once worked quietly behind him is now something he’s trying to build piece by piece.

Footage of Cardi B during a concert in San Francisco for her Little Miss Drama tour recently caught fans’ attention. It appeared that the rapper had taken shots at her ex-boyfriend, New England Patriots wide receiver Stefon Diggs. “You can’t be out here playing with a b*tch like me,” she said to the crowd. “There’s n*ggas out here praying for a b*tch like me, you hear me?” However, according to Cardi B, everything is not what it seems. “Dear blogs, when I perform a song, I always introduce the song with a lil razzle dazzle,” she wrote in a post on X March 2. “Not everything is a shot or personal. I’m actually repeating lyrics from the songs…Relax.” Last month, rumors circulated that there was trouble in paradise between Cardi and Stefon after it was reported that the pair unfollowed each other on Instagram. The rapper would later confirm the news during a tour stop in Los Angeles. Dear blogs, when I perform a song I always introduce the song with a lil razzle dazzle.. not everything is a shot or personal. I’m actually repeating lyrics from the songs…Relax — Cardi B (@iamcardib) March 2, 2026 Cardi B Allegedly Crashed Out Over ‘SNL’ Joke About Nicki Minaj In other news, TMZ recently reported that Cardi B “lost it” at Saturday Night Live. Sources told the outlet that amid rehearsals for the iconic sketch comedy show’s 1,000th episode, the “Pretty & Petty” rapper made it a night to remember after she began destroying equipment after overhearing a joke mentioning Nicki Minaj. Apparently, the anchors for the popular skit, “Weekend Update,” were testing out a few jokes regarding Minaj’s affiliation with the MAGA crowd. Sources noted that the joke had nothing to do with Cardi B; however, just the mere mention of Minaj made her go “berserk.” Things escalated very quickly after Cardi, who was set as the musical guest for the night, threatened to leave the show. It was alleged that she not only threw her phone at a TV monitor backstage, but also stormed into the show producer’s office and punched a TV screen until it broke. Sources told the outlet that not long after Cardi’s fit, the joke was scrapped

For much of his career, Drake has paid close attention to presentation. Album covers like Take Care, Nothing Was the Same, and Views have become part of the visual shorthand of the 2010s, as recognizable as the songs themselves. But the artwork for his 2021 release Certified Lover Boy—a dozen pregnant-woman emojis arranged on a blank white field—has remained a point of contention. The album was a commercial success, yet its cover drew immediate skepticism from some fans who questioned its spare, almost ironic design. In the years since, alternative concepts that surfaced before the album’s release have circulated online, fueling speculation about what might have been. The conversation flared up again this week beneath an Instagram post from NFR Podcast, where the hosts debated polarizing album art. Drake via IG story “ICEMAN 2026” pic.twitter.com/Of4PggOYDR — Kurrco (@Kurrco) February 24, 2026 When the Cover Becomes the Conversation When one commenter called Certified Lover Boy the worst example, Drake replied succinctly: “r u dumb lol.” The response, brief and unfiltered, reignited discussion about how much album packaging still matters in an era dominated by playlists and streaming thumbnails. For some listeners, the cover’s simplicity reads as playful provocation; for others, it remains a rare visual misstep in an otherwise carefully curated catalog. The renewed scrutiny comes as Drake prepares his next studio effort, ICEMAN. He has referenced the project since 2025 but has not confirmed a specific release date beyond indicating a 2026 timeline. As anticipation grows, attention is likely to fall not only on the music itself but also on the imagery that frames it—a reminder that, even now, presentation can shape perception.

Ja Rule has spoken publicly about a confrontation aboard a commercial flight involving Tony Yayo and Uncle Murda, an episode that quickly made its way across social media. In a written statement, he acknowledged regret over how he handled the moment. “I’m not proud of my behavior it’s goofy to me. I’m a grown man about to be a grandfather and I wish that video of me wasn’t out there either. I don’t like people taking me out of my character so for that I apologize to my wife, family, fans, business and investment partners,” he wrote. He added, “I want people to know at the end of the day I’m still a man and I’m going to stand my ground. I don’t start trouble.” Appearing later on The TODAY Show, Ja Rule broadened the conversation to responsibility and example. “There’s a responsibility that we have to be gentlemen. I live by a code, I call it the gentleman’s code, but I’m also raising young men. So, you have to let them know that there’s no room for disrespect, but also that there’s a way to carry yourself. So, two things can be true,” he said. The tone suggested reflection rather than escalation, though he did not signal any effort to repair relations with G-Unit. In an interview with TMZ, he spoke more philosophically about rivalry. “Sometimes in life, people have enemies, and that’s okay. That’s okay to have enemies. Everybody can’t be friends. A friend of a friend of everybody is an enemy to himself. But what I’m saying is, we don’t also have to be at war. There’s room for us to be not friends and also not be at war. That’s where I’m at with it right now. I don’t deal with that side. I don’t fck with them; they don’t fck with me. That’s fine. But I also don’t have to be at war.” It was less a peace offering than a statement of boundaries. Old Rivalries, New Turbulence Tony Yayo responded in an interview with XXL, writing off the episode as part of a rivalry that has simply endured. “We grown but war never dies just gets old. #qgtm [money bad emojis] they was never outside @nojumper,” he said. 50 Cent, G-Unit’s founder, added his own commentary on Instagram: “Good morning let your enemies become motivation. Make them watch your success till they snap. Then get the Fvck out the way before they crash out. LOL.” The dispute reportedly unfolded when the artists found themselves on the same flight, leading to raised voices before Ja Rule was escorted off the plane. Though brief, the incident revived a feud that has shaped parts of hip-hop history for more than two decades. What remains now is not open warfare but a familiar distance, maintained in interviews and social posts rather than in songs.

Kim Scott, the former wife of Eminem, has been charged with two misdemeanors in Michigan following an alleged vehicle incident earlier this week. According to court records first reported by TMZ, the charges include operating a vehicle while intoxicated and failing to stop or provide identification after property damage. Both counts are misdemeanors under Michigan law. The matter is now moving through the local court system. Authorities allege the incident occurred around 8 p.m. Monday after Scott left her home with her son, Parker, and several of his friends. Law enforcement officials say her vehicle struck a parked car before she returned to her residence, where it then collided with a garage door. Neighbors contacted police, and Scott was transported to a nearby hospital for treatment of minor injuries. Notably, Eminem has continued to support his family during challenging times, according to her attorney, Michael Smith, who described her as “a good person, a beautiful human being.” From past turmoil to new beginnings Scott and Eminem were married twice, first from 1999 to 2001 and again briefly from 2006 to 2007. They share a daughter, Hailie Jade, who was frequently referenced in the rapper’s early catalog, including the songs “Kim” and “‘97 Bonnie & Clyde.” In recent years, public attention around Eminem and his family has centered less on past turmoil and more on milestones. Last year, Scott and Eminem became grandparents when Hailie welcomed her first child with her husband, Evan McClintock. Before the birth, Hailie spoke candidly on her podcast about the emotional weight of the moment. “It’s so weird to think about… I can’t even wrap my head around it,” she said. “I have to meet this human that I’ve created. What’s he gonna look like? What’s he gonna … what’s his personality gonna be [like]? It’s strange but super exciting.”